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1981
Volume 9, Issue 2
  • ISSN: 2052-6695
  • E-ISSN: 2052-6709

Abstract

This article is initiated by the writer’s response to a criticism from an editor that they ‘cleave to the transcendent in art’ and also inspired by the discovery of James McMullan’s 1970s illustrations for , which formed the aesthetic and narrative basis for the movie. These two, seemingly unconnected factors, come together to conjure and weave a discussion of the relative qualities and values of immanence and transcendence. It uses examples drawn from art and with particular reference to a range of painters with greatly differing styles, and from different eras, but compared and considered here as con-temporary (sharing the time of the article and its writing).

Funding
This study was supported by the:
  • Research at Central Saint Martins, UAL (Award 10285283)
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2024-06-04
2025-12-14
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